As the sun set over London, a sanctuary of sensual vulnerability awaited discovery in St Ethelburga’s Church, nestled amongst the City’s corporate offices and the hubbub of Liverpool Street Station. One of the few surviving mediaeval churches in the area, and one dedicated to a 7th century abbess, it provided an ideal setting for Grete Henriette’s SS27 presentation entitled ‘Mourn’.
Upon entry, guests were encouraged to place rosary beads on a life-size cutout of the designer, before exploring the exhibition space where wearable artworks were presented in unusual frames, such as dining chairs and church pews, all part of a voyeuristic veneration of womanhood. Guests took on the role of spectators, both to Grete Henriette’s personal experiences as represented by the artwork, but also to private moments of silent prayer being performed by models; one fully clothed in black and weighted down by a flower-embellished woven metal veil reminiscent of chastity garments, the other barely covered in only a thong bearing the show date and Corinthians-approved, Rapunzel-length locks.
“I was very inspired by Victorian mourning practices and the passing of time, mourning my 20s, because I just turned 30. […] So it’s just to take a moment and look inwards. I was looking at a lot of parts of my upbringing, which was very religious, and how that affected me, and how it plays a big part of my life now,” the London-based designer told Noctis.
Through a series of silk thongs featuring antique objects representing everything from domestic work and the arts through sexuality and desire to pious spirituality, Henriette showcased the ever-changing chimera of femininity. ‘Unmentionables’ become relics, questioning the blurring lines between idolisation and exploitation by posing a question: “When was the last time you worshipped a thong?”
“All of the pieces that you see are wearable artworks. The thongs are the canvas to tell a story of each chapter of my evolving through womanhood. It’s also a love letter to all of the women in my life, who shaped me, and are just incredibly important.” Known for her ability to mix historical objects with modern silhouettes, it is perhaps unsurprising that when asked about women she would love to dress, Henriette named Britney Spears and Joan of Arc.
Her commitment to celebrating female artists was further illustrated in her collaborations with South African artist Jade Denobriga and photographer Sarah Hugo-Hamman, resulting in cinematic shorts and a selection of stills on display during the presentation, as well as the bespoke frames created by Anna Mei Fung Rafice.
Taking a moment to reflect upon the passage of time – in partnership with Casio, referencing some of her earlier work heavily featuring vintage watches – Grete Henriette invited the audience to her world of religious ritual by finishing the evening with a spell-binding performance by sister duo Qazi & Qazi. Their mesmerising, yet mournful voices echoed throughout the church, symbolising the simultaneous sensitivity and strength of womanhood Henriette’s work embodied. Worshipping at the altar of female artistry, we prayed.
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Words: Florentyna Syperek
Photography: Adam Pietraszewski and Florentyna Syperek